We often see what we want to see, instead of what is there, and to train ourselves out of it is a lifelong effort that I believe is the most healing when we turn inward and use what we find to connect authentically. My art explores this, the decades-long struggle I’ve had to be seen and to see others, through the process of linocut, chipping away at a block of linoleum patiently and precisely until an image is ready to be pressed to print. Being seen is ageless, much like art. There is no age restriction to the process, no real start or end point. It is what connects us, like the music scenes that raised me in the Northwest, like the music scenes I keep discovering, refusing to stop growing and changing just because I’ve grown up. The faces in my work often represent the self, its many layers and how we work to take off our masks and shift our gaze to see who we truly are. The hands are reaching out, giving, the forward momentum of community that starts from ourselves. They’re simple because this is a deceptively simple thing to do, and like linocut, beauty in a simple outcome often comes from the painstaking care of a complex process.
About the paintings
I use traditional encaustic materials and processes– beeswax, damar resin, and colored pigment on wood panels. The paint is melted on a warm pallet, and then applied in layers to a specially constructed wood panel using a blowtorch. Multiple layers are typically applied to create the finished artwork.
My process is intuitive and experimental, but strongly connected to history – combining tradition with contemporary expressionism and hints of personal narrative. I experiment with scale as well. Larger panels (up to 60 inches across) surround us in ethereal topographies and smaller (12 inch) works draw us into intimate encounters with texture and depth. I strive to create paintings that are immersive experiences, evoking sensations that are fluid and meditative but edged with intensity.
Encaustic allows me to slowly construct and hide imagery, as if we’re looking at something under the surface of a frozen lake or discovering the secrets embedded in an agate. I’m interested in the dualities of revelation and concealment, depth and surface, past and present. I am often inspired by loose, soft, natural phenomena but like to combine these elements with stronger forces. Contrasts appeal to me, like the beauty of a decaying, fallen tree or a painful memory softened over time.
Please contact me for pricing, commission requests or inquiries.
Jennifer Ament’s linocut prints and encaustic paintings have been featured in solo and group show exhibitions throughout the U.S.: including; The Seattle Art Fair, Pulse Miami, Out of Sight and The Vera Project.
Commercial work includes; Starbucks Stores throughout the world, Frankie and Jo’s, The Derschang Group, and a Wine label for Grand Coeur Wines.
Ament also has permanent collections at several luxury high rise condominiums, notable restaurants, and Seattle’s Seatac Airport.
Her work has been featured in Architectural Digest, Elle Decor, Seattle Magazine,City Arts, Gray Magazine, Luxe Magazine, and many online publications.
She is also the founder of Artist for Progress; a non-profit that has raised over $75,000 for the ACLU and The Northwest Immigrant Rights Society.
Jennifer lives with her family in Seattle.